The Cambridge Companion to the Rolling Stones · The Cambridge Companion to the Guitar (2003), and Performance on Lute, Guitar, and Vihuela (Cambridge, 1997). john covach is Director

Cambridge University Press978-1-107-03026-8 — The Cambridge Companion to the Rolling StonesEdited by Victor Coelho , John Covach FrontmatterMore Information

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The Cambridge Companion to the Rolling Stones

The Rolling Stones are one of the most influential, prolific, and

enduring rock and roll bands in the history of music. This

groundbreaking, specifically commissioned collection of essays

provides the first dedicated academic overview of the music, career,

influences, history, and cultural impact of the Rolling Stones.

Shining a light on the many communities and sources of knowledge

about the group, this Companion brings together essays by

musicologists, ethnomusicologists, players, film scholars, and

filmmakers into a single volume intended to stimulate fresh

thinking about the group as they vault well over the mid-century of

their career. Threaded throughout these essays are album- and

song-oriented discussions of the landmark recordings of the group

and their influence. Exploring new issues about sound, culture,

media representation, the influence of world music, fan

communities, group personnel, and the importance of their revival

post-1989, this collection greatly expands our understanding of

their music.

victor coelho is Professor of Music and Director of the Center

for Early Music Studies at Boston University, as well as a lutenist

and guitarist. His previous publications include Instrumentalists

and Renaissance Culture, 1420–1600 (with Keith Polk, Cambridge,

2016), The Cambridge Companion to the Guitar (2003), and

Performance on Lute, Guitar, and Vihuela (Cambridge, 1997).

john covach is Director of the University of Rochester Institute

for Popular Music, Professor of Music in the College Music

Department, and Professor of Theory at the Eastman School of

Music. He is the principal author of the college textbook What's

That Sound? An Introduction to Rock Music (2006) and has

co-edited Understanding Rock (1998), American Rock and the

Classical Tradition (2000), Traditions, Institutions, and American

Popular Music (2000), and Sounding Out Pop (2010).

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The Cambridge Companion to the

ROLLING STONES. . . . . . . . . . . . . . . . . . . . . . . .

EDITED BY

Victor CoelhoBoston University

John CovachUniversity of Rochester, New York




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Library of Congress Cataloging-in-Publication DataNames: Coelho, Victor. | Covach, John Rudolph.Title: The Cambridge companion to the Rolling Stones / edited by Victor Coelho, JohnCovach.

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Identifiers: LCCN 2019000406 | ISBN 9781107030268 (hardback : alk. paper)| ISBN 9781107651111 (pbk. : alk. paper)

Subjects: LCSH: Rolling Stones. | Rock musicians–England. | Rock music–History andcriticism.

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For Arjun and Susie




Contents

List of Illustrations page xiiiList of Tables xvNotes on Contributors xviPreface xixList of Abbreviations xxii

Part I Albums, Songs, Players, and the Core

Repertory of the Rolling Stones

1 The Rolling Stones: Albums and Singles, 1963–1974John Covach 3

2 Guitar Slingers and Hired Guns: The Musicians of theRolling StonesBill Janovitz 18

3 The Rolling Stones in 1968: In Defense of LingeringPsychedeliaJohn Covach 40

4 Exile, America, and the Theater of the Rolling Stones,1968–1972Victor Coelho 57

5 Post Exile: The Rolling Stones in a Disco-Punk World,1975–1983Paul Harris 75

Part II Sound, Roots, and Brian Jones

6 The Rolling Stones’ Sound: At the Crossroads ofRoots and TechnologyRalph Maier 101

7 Driving Stones Country in Five SongsDaniel Beller-McKenna 121

8 A “Gust of Fresh Air”: Brian Jones, Assemblage,and World MusicBrita Renée Heimarck 142

Part III Stones on Film, Revival, and Fans

9 Shine a Light: The Rolling Stones on FilmMichael Brendan Baker 165

[xi]




10 Second Life and the Dynamics of Revival:The Stones after 1989Victor Coelho 184

Postlude: Being a Rolling Stones Fan is Not a Choice But aState of MindPhilippe “Philfan” Puicouyoul 194

Bibliography 206Index of Songs, Albums, and Visual Media Cited in the Text 214General Index 219

xii Contents




Illustrations

1.1 The Rolling Stones in Paris, 1964 (Charlie Watts is absentfrom the photo). Courtesy HIP/Art Resource, NY. page 4

2.1 Mick Jagger with Billy Preston, Plaza Monumental,Barcelona, 1976. Album/Francesc Fàbregas/Art Resource, NY. 33

3.1 The Rolling Stones, 1967. Courtesy HIP/Art Resource, NY. 48

4.1 Poster for the 1972 “Exile on Main St” American tour.Grybowski Collection, Library and Archives, Rock andRoll Hall of Fame Museum. 61

4.2 Author in front of the 24-track Helios console insidethe Rolling Stones Mobile studio, 2016. NationalMusic Centre, Calgary, Alberta (photo by Tom Knowles). 64

4.3 Cover of Life magazine (July 14, 1972) publishedduring the 1972 tour. Grybowski Collection,Library and Archives, Rock and Roll Hall of Fame Museum. 72

5.1 Atlantic Records promotional photo of theRolling Stones (1978). Jeff Gold Collection,Library and Archives, Rock and Roll Hall of Fame Museum. 76

5.2 African-American protestors of Some Girls outside WarnerCommunications, New York City, 1978. Jeff Gold Collection,Library and Archives, Rock and Roll Hall of Fame andMuseum. 86

6.1 Publicity shot with Mick Jagger for Godard’s Sympathyfor the Devil [One Plus One], 1970. Jeff Gold Collection,Library and Archives, Rock and Roll Hall of Fame andMuseum. 108

7.1 Mick Jagger and Dolly Parton following her performanceat the Bottom Line, New York, May 14, 1977. Jeff GoldCollection, Library and Archives, Rock and Roll Hall ofFame and Museum. 134

8.1 Brian Jones playing sitar on Ready Steady Go, 1966.Jan Olofsson/Redferns/Getty Images. 151

8.2 Rolling Stones concert at the Berlin Waldbühne,September 15, 1965. From l–r: Bill Wyman,Brian Jones, Mick Jagger. Photo: Alexander Enger,Preußischer Kulturbesitz; bpk Bildagentur/ArtResource, NY. 152

[xiii]




8.3 Inter-Office Memo from Andy Wickham to Mo Ostin,December 19, 1969. Mo Ostin Collection, Library andArchives, Rock and Roll Hall of Fame and Museum. 156

9.1 Invoice for the rental of camera and recorder used byWhitehead for the filming of Charlie Is My Darling.Courtesy of Peter Whitehead. 169

10.1 Hasbro “Rolling Stones Trivial Pursuit” (c. 2010).Photo by author. 186

P.1 Rolling Stones concert at the Berlin Waldbühne:audience in front of the stage, September 15, 1965.Photo: Alexander Enger, Preußischer Kulturbesitz; bpkBildagentur/Art Resource, NY. 194

xiv List of Illustrations




Tables

1.1 Rolling Stones singles, 1963–65. page 71.2 Early Jagger/Richards songs. 81.3 Rolling Stones album projects, 1964–68. 91.4 Versions on the first four album projects (original artists). 101.5 Rolling Stones singles, 1966–67. 111.6 Rolling Stones singles, 1968–74. 131.7 Rolling Stones albums, 1968–74. 13

[xv]




Notes on Contributors

Michael Brendan Baker is Professor of Film Studies in the Faculty of Humanities &

Social Sciences at Sheridan College in Ontario, Canada. He specializes in docu-

mentary film and video, music and the moving image, and film history. He is

author of numerous book chapters and journal articles on a range of subjects

including documentary, popular music and film, and new media.

Daniel Beller-McKenna is Associate Professor at the University of New Hampshire

where he teaches courses in American popular music and the Western classical

tradition. In addition to scholarship on Brahms, current projects include studies

of Townes van Zandt and Johnny Paycheck, and an active avocation as a pedal

steel guitarist.

Victor Coelho is Professor of Music and Director of the Center for Early Music

Studies at Boston University. His publications include Instrumentalists and

Renaissance Culture, 1420–1600 (with Keith Polk, Cambridge), The Cambridge

Companion to the Guitar, and Performance for Lute, Guitar, and Vihuela

(Cambridge). As a lutenist he co-directs the group Il Furioso and records with

Toccata Classics. As a guitarist he leads the Rooster Band, which for ten years

toured with the Chicago bluesman, Lou Pride. people.bu.edu/blues/

John Covach is Director of the University of Rochester Institute for Popular Music,

Professor of Music in the College Music Department, and Professor of Theory at

the Eastman School of Music. He has published on popular music, twelve-tone

music, and the philosophy and aesthetics of music. He is the principal author of

the college textbook What’s That Sound? An Introduction to Rock Music (2006)

and has co-edited Understanding Rock (1998), American Rock and the Classical

Tradition (2000), Traditions, Institutions, and American Popular Music (2000),

and Sounding Out Pop (2010).

Paul Harris toured Canada as a guitarist in the late 1980s with the Calgary roots-

rock band, the Burners, prior to studying historical musicology at the University

of Calgary (MA) and the University of North Carolina at Chapel Hill (Ph.D.).

Since 2008, he has taught at the University of Puget Sound.

Brita Renée Heimarck is Associate Professor of Music at Boston University. She has

authored two books,Balinese Discourses on Music and Modernization (2003)

andGender Wayang Music of Bapak I Wayan Loceng from Sukawati, Bali (2015).

She is currently working on an edited volume entitledYogic Traditions and Sacred

Sound Practices in the United States.

Bill Janovitz has appeared and published widely as a specialist on the Rolling Stones

and is the author of Exile on Main Street for the 33⅓ series and Rocks Off:

50 Tracks that Tell the Story of the Rolling Stones (2013). He is also a singer,

guitarist, and songwriter in the band Buffalo Tom.

[xvi]




Ralph Maier is on the faculty at the Mount Royal University Conservatory of Music,

and at the University of Calgary where he teaches classical guitar, chamber

music, and a wide range of musicology classes from Renaissance Print Culture

to 1970s Progressive Rock. Recent projects include the recording, engineering

and production of his most recent CD, Variations, with performances on vihuela,

baroque guitar, romantic guitar, classical guitar, and electric guitars.

Philippe “Philfan” Puicouyoul is a French filmmaker at the Centre Pompidou in

Paris. His work deals principally with fans, audiences, and the culture of music,

and he has produced films dealing with the French punk scene (Le brune et moi,

1981) and fans of the Rolling Stones (Vers l’Olympe: être fan des Rolling Stones,

2008). He is the author of Pop Fiction (1991), about being a fan at rock shows.

xvii Notes on Contributors




Preface

The long and durable musical career of the Rolling Stones continues to

span almost the entire history of rock and roll. Making their recording

début in 1963 with their single “Come On,” a Chuck Berry cover, the

Stones were catalysts in the important British blues revival of the early

1960s, and along with the Beatles, Animals, Who, Kinks, and Yardbirds

spearheaded the British pop music invasion of the 1960s. Appearing first

on widely watched nationally televised variety shows, followed by regular

tours, the group has now played more than 2,100 shows, reaching some

45 million fans.1 For over 50 years, and with a body of music amounting to

over 400 songs, they have sustained an impact that has been musically

influential, culturally powerful, and economically crucial to the develop-

ment of virtually all aspects of the massive rock music industry. Adapting

to and in many cases anticipating new (or retro) trends in popular music

during their long career – rock, folk, psychedelic, funk, punk, reggae, disco,

and others – the Stones nevertheless remained true to the fundamental

stylistic roots and sound of rock and roll: R&B, country, and most of all,

the blues, to which their indebtedness is reverential. Their amalgamation

of these styles into an individual, highly distinctive, roots- and riff-based

sound, along with their trademark subversive attitude (no less influential

than their music), skillfully mediated the commercial and poetic boundar-

ies of popular music. As a result, the Stones are both a barometer of rock

aesthetics and a guide to its culture over the last half-century.

Given their long career and vast musical production, the group has

received prolonged attention through some excellent journalism, detailed

reference works chronicling their tours, recordings, and gear, studies of

specific albums, biographies, and key autobiographies by Bill Wyman,

Keith Richards, Ron Wood, Marianne Faithfull, and Andrew Loog

Oldham, all of this supplemented by extensive concert footage, interviews,

film documentaries, and a – literally – weighty amount of large-format,

glossy, but occasionally valuable books in the “coffee table” genre. The sum

total of this body of work is massive, often guideless, of variable quality,

and unfortunately fragmented among many fields, industries, and special-

ists. The Cambridge Companion to the Rolling Stones was conceived to “de-

silo” the field and shine a light on the various communities of knowledge

about the Rolling Stones. It brings musicologists, ethnomusicologists,

players, Stones scholars, film scholars, and filmmakers into a single volume

intended to stimulate fresh thinking about the group as they vault well over[xix]




the mid-century of their career. It further broadens the approach to their

music by considering new issues about sound, culture, media representa-

tion, the influence of world music, fan communities, group personnel, and

the importance of their revival, post-1989. In addition, threaded through-

out these essays are album- and song-oriented discussions of the landmark

recordings of the group and their influences.

The present collection is cast in three parts. In Part I, “Albums, Songs,

Players, and the Core Repertory of the Rolling Stones,” John Covach traces

the rapid evolution of the Stones through their recordings up to 1974, with

particular emphasis on their early stylistic development and singles. Bill

Janovitz looks at the relationship between the original composition of the

band and the critical changes that take place musically through successive

personnel changes and the eventual enlargement of the band’s sound in

the 1970s. In a further study, Covach revises the notion that the Stones’

1967 album Their Satanic Majesties Request is the end of the group’s

“Psychedelic” phase and shows instead traits of Psychedelia continuing

in and influencing Beggars Banquet. Victor Coelho accepts the notion of

the four albums from Beggars to Exile as the “core repertory” but places the

texts and musical styles of these releases within the larger poetic and

political dimension of exile, one that allows many vernacular, rural, and

gospel styles to enter their sphere as another vocabulary. Paul Harris’ essay

follows the group from their “exilic” period to their unsure position in the

mid- to late-seventies, in which a new urban sound is cultivated under the

influences of punk, post-punk, and club culture.

Part II, “Sound, Roots, and Brian Jones,” begins with Ralph Maier, who,

drawing on gear, recording, and studio equipment, contributes an import-

ant study of the Stones’ sound, an often neglected but critical topic whether

discussing recorded or live performance. The deep influence of country –

and of country records, players, and techniques – on the Stones is analyzed

by Daniel Beller McKenna in his essay that draws on case studies of five

songs and their roots backgrounds. Finally, ethnomusicologist Brita

Heimarck takes a fresh approach to the influence of Brian Jones, perhaps

the most mythologized and misunderstood member of the Rolling Stones,

using Deleuze’s theory of assemblage to explain his unusually wide influ-

ences and culturally diverse musical interests.

Finally, Part III, “Stones on Film, Revival, and Fans,” begins with film

scholar Michael Baker’s study of the Stones as represented on film within

the context of the “rockumentary” genre, from Whitehead to Scorsese.

Coelho’s essay on “Second Life” examines how the Stones at the end of the

1980s, corroded internally, marginalized by rap, and seemingly left with

only their past history, triumphantly revived themselves, and in the pro-

cess curated a lasting history of the band – on their own terms. Modern

xx Preface




culture is full of “shrines” to the Rolling Stones – websites, fanzines, and a

flourishing market for relics (bootlegs, outtakes, videos, and the like),

which cry out for attention within the study of identity formation and

the rituals of audiences. Filmmaker Philippe Puicouyoul’s “fan memoir”

that closes the volume gives us a close view of the global Stones fan

community, and is a fitting conclusion underlining the main element

common to those of us who listen to, play, study, and write about the

Stones: we are all, in the end, fans.

We express gratitude here to a number of people who have contributed

everything from crucial information and deep conversations about the

Stones’ music to small, but valuable pieces of knowledge, in particular:

Peter Deacon, Tom Knowles, Kenton McDonald, Dave Morton, Larry

Finn, Thomas Peattie, Marcie Cohen, Jason McCool, John Kmetz, David

Campbell, Peter Whitehead, the Rev. Robert Hill, and David Dolata; and

for granting many requests to visit the Rolling Stones Mobile Studio,

Andrew Mosker, President and CEO of the National Music Centre in

Calgary, Alberta, where the mobile resides. We also thank Vicky Cooper,

former Commissioning Editor at Cambridge University Press, for helping

us conceive of this Companion.

In addition, we acknowledge the digital repositories and archives that

made their collections available and kindly assisted with the images used

and cited in this book, in particular Art Resource of New York, Getty

Images, the Howard Gotlieb Archive at Boston University, and the Library

and Archives of the Rock and Roll Hall of Fame in Cleveland.

Finally, we thank Eilidh Burrett and Lisa Sinclair at Cambridge Uni-

versity Press, and the copy-editor Andrew Dawes, for their careful work on

the manuscript, and of course Kate Brett, Publisher, Music and Theatre at

the Press for her excellent suggestions, encouragement, and, above all,

patience.

vc and jc

Boston and Rochester

Note

1 Cited in the official program booklet for the Rolling Stones traveling exhibit, Exhibitionism: TheRolling Stones (n.p. [2016]).

xxi Preface




Abbreviations

According Dora Loewenstein and Philip Dodd, eds., According to the Rolling

Stones. London, 2003.

DaltonFTY David Dalton, ed. The Rolling Stones: The First Twenty Years.

New York, 1981.

DaltonRS David Dalton, ed. Rolling Stones. New York and London, 1972.

Faithfull Marianne Faithfull (with David Dalton), Faithfull: An

Autobiography. New York, 1994.

JanovitzEMS Bill Janovitz, Exile on Main Street. New York, 2005.

JanovitzRO Bill Janovitz, Rocks Off. New York, 2013.

Karnbach &

Bernson James Karnbach and Carol Bernson, It’s Only Rock ’n’ Roll: The

Ultimate Guide to the Rolling Stones. New York, 1997.

Life Keith Richards (with James Fox), Life. New York, 2010.

Margotin &

Guesdon Philippe Margotin and Jean-Michel Guesdon, The Rolling Stones –

All the Songs: The Story Behind Every Track. New York, 2016.

MM Melody Maker.

Rock Hall Library and Archives, Rock and Roll Hall of Fame Museum.

RSCRS Martin Elliott, The Rolling Stones – Complete Recording Sessions

1962–2012: 50th Anniversary Edition. London, 2012.

RSG Andy Babiuk and Greg Prevost,Rolling Stones Gear.

Milwaukee, 2013.

RSt Rolling Stone (magazine).

Trynka Paul Trynka, Brian Jones: The Making of the Rolling Stones.

New York, 2014.

WennerMJR Jann Wenner, “Mick Jagger Remembers,” Rolling Stone (December

14, 1995): https://www.rollingstone.com/music/music-news/mick-

jagger-remembers-92946.

WymanRWTS Bill Wyman, Rolling with the Stones. New York, 2002.

WymanSA Bill Wyman, Stone Alone: The Story of a Rock ’n’ Roll Band.

New York, 1990.

[xxii]

Documents

The Cambridge Companion to the Rolling Stones · The Cambridge Companion to the Guitar (2003), and Performance on Lute, Guitar, and Vihuela (Cambridge, 1997). john covach is Director